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In the hammock: min-a-rets issue 9 spring 2018

 

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Min-a-rets is published by Compound Press and Issue 9 is edited by Craig Foltz

The editor’s motive was ‘to create a forum for an absurdist, collaborative experiment, roughly based on the surrealist Exquisite Corpse experiments from the 1920s’. In the collective approach to writing the second writer only sees the last line of the first writer.

 

In this instance:

28 writers got a line of text, a specific form and 7 days to produce a piece. The last line was handed onto the next writer. There were four groups each starting with the same first line: Among clouds of dust, only mountains – a garden

The writers come from New Zealand, USA, Taiwan, Australia and Sweden and include Joan Fleming, Nina Powels, Ya-Wen Ho, Steph Burt, Airini Beautrais, Lisa Samuels, Anna Jackson, Amy Brown, Sarah Jane Barnettt, Essa Ranapiri, Rebecca Hawkes.

Names were put in a hat to assign group and order.

Four poems, without attribution to individual writers, achieve a sweet and surprising fluency. It is like picking up a stitch from the previous writer and taking  it wherever you fancy. Sometimes it is a shift in pattern, sometimes repetition.

Four distinctive poems like a game of whispers in the ear or the game where you draw a head, fold the paper over and let the next person continue with a modicum of clues. I was hungry to keep reading, motivated by the bridge between stanzas.

What a delight to read the hooked stitches: the surprising links and the wayward disconnections. I utterly adore this issue, both startling and sumptuous.

 

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Compound Press page

 

 

 

 

 

 

The Moth International Short Story Prize 2018: Caoilinn Hughes (1st and 3rd) and Tracey Slaughter (2nd)

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‘The author Kevin Barry chose not one but two of Caoilinn Hughes’ stories as his prizewinners in this year’s Moth Short Story Prize, which he judged anonymously. Psychobabble takes first prize, and is, according to Barry, “a story that walks a difficult road in terms of its tone or note – it’s a dark situation dealt with not lightly but with an effervescence in the line, in the sentence-making, and it’s this vivacity that elevates the piece above the rest. It’s both poignant and very funny, emotional yet sardonic. The writer has great control.”’

You can read Caoilinn’s winning story, ‘Psychobabble’ here.

You can read her third placed story, ‘Standard Deviation’ here.

 

And poet and fiction writer, Tracey Slaughter, came 2nd with ‘Postcards are a Thing of the Past’.

Tracey Slaughter’s Postcards are a Thing of the Past, which won second prize, is “a narrative that shows the boundless possibilities of the short story as a form – it could be described almost as a kind of erotic travelogue, but the important movement is internal, or within,” said Barry. “It’s about the heart, essentially, and there is real intensity in the writing, and some astonishing jolts in the language.”

You can read Tracey’s story here.

The three winning stories appear in the autumn issue of The Moth, available to purchase in select bookshops and online

Poetry Shelf audio spot: Tracey Slaughter’s ‘breather’

 

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Tracey Slaughter is the author of deleted scenes for lovers an acclaimed collection of short stories (VUP, 2016). Her poetry and prose have received many awards including the international Bridport Prize (2014), two BNZ Katherine Mansfield Awards, and the Landfall Essay Prize 2015. Her poetry cycle ‘it was the seventies when me & Karen Carpenter hung out’ was shortlisted in the Manchester Poetry Prize 2014, and her poem ‘breather’ won Second Place in the ABR Peter Porter Poetry Prize 2018. She teaches at Waikato University where she edits the journal Mayhem.

 

 

 

Paula Harris, winner of a US poetry prize, talks poems with Jessie Mulligan

 

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Listen here at RNZ National. Great interview! Really can’t get my ahead around a journal that says ‘this is not poetry’! We should be long over such restrictive attitudes to what a poem is.

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Playwright named as IIML’s inaugural Emerging Pasifika Writer in Residence

 

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Victoria University of Wellington’s International Institute of Modern Letters (IIML) is delighted to announce the appointment of the Emerging Pasifika Writer in Residence for 2019.

Leki Jackson-Bourke, a South Auckland-based playwright of Tongan, Niuean and Samoan descent, will take up the Residency in 2019. He will use the time to complete his play For the Likes—a script about an insecure Tongan girl who seeks validation by attempting to go viral online.

Leki’s writing aims to address issues in the Pacific community and has a growing following in schools. His work includes Inky Pinky Ponky (co-written with Amanaki Prescott Faleatau) and Pring It On.

Leki says of the Residency: “This is an important moment in my journey as a young Pacific story-teller because of the responsibilities and duties that come with it. My next work aims to give space to the Pacific youth voice—a voice that I feel is currently misrepresented in the mainstream media.”

IIML Director Professor Damien Wilkins says the Residency attracted a large number of strong applications across different genres, confirming the range and quality of work from emerging Pacific writers of all ages.

Victoria University of Wellington’s Assistant Vice-Chancellor (Pasifika) Dame Luamanuvao Winnie Laban says: “It is amazing to see the breadth and depth of talent of our emerging Pasifika writers. Congratulations to Leki Jackson-Bourke on this opportunity to undertake your residency with the University’s International Institute of Modern Letters and to be taught and mentored by some of New Zealand’s best writers.”

Leki will receive a stipend of $15,000 to write and research his play at the IIML for three months, and will be mentored by leading playwright Victor Rodger. “Leki Jackson-Bourke is at the forefront of the new wave of Pasifika voices. His work is as fresh and irreverent as it is relevant,” says Mr Rodger.

Professor Wilkins says, “The large number of strong applications shows the need for this Residency. We’re delighted to have the generous support of the University and Creative New Zealand.”

 

 

 

Poetry Shelf Monday Poem: Anahera Gildea’s ‘Ahi kā’

 

Ahi kā

 

At the top of the road

there is wind,

railways crossing at the corner,

of an old wooden prefab where

wine gums and popsicles, and

our feet in jandals fill

the one room dairy that is decades gone

 

toward the motorway

past the tree where Uncle hung himself,

is the highway

the marae-way.

Eels peg the line, and

Chip-dog is lazy barking.

Over the split verandah, you cross

the musty lounge, dark with the 70’s

squeeze down the hall past rooms so

clumsy you can smell the cob

 

out the window, into the land

blazing beneath this ancient copper;

we scrub on the washboard

of someone else’s clothes,

the broken down wringer where

this Auntie’s house is on the left,

that Auntie’s house is on the right;

 

the whole damn road is a gauntlet of aunties.

 

Anahera Gildea (Ngāti Raukawa-ki-te-tonga) has worked extensively as a visual and performing artist, a writer, and a teacher. She has had her poems and short stories published in multiple journals and anthologies, and her first book ‘Poroporoaki to the Lord My God: Weaving the Via Dolorosa’ was published by Seraph Press in 2016. She holds a BA in Art Theory, Graduate Diplomas in Psychology, Teaching,

 

 

 

Landfall Review on Wilson, Heath, Ricketts and Bullock

 

See reviews here

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